1) Fortezza Da Basso a Masterpiece of the Military Renaissance
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Joinus in FLORENCE! Editor’S Note
77052 ISAKOS Winter 06 1/12/06 1:19 AM Page 1 ISAKOS newsletter The ISAKOS 6th Biennial Congress WINTER 2006 Volume 10, Issue 1 INSIDE THIS ISSUE Joinus IN FLORENCE! Editor’s Note ................................2 President’s Message ......................2 he Congress will bring together world leaders in arthroscopy, knee Traveling Fellowships......................3 surgery and orthopaedic sports Your Committees at Work ..............4 T medicine. Diverse and high quality 2007 Congress Awards..................6 presentations will include 200 scientific What are New Members Saying?....9 papers, discussions and debates, over 400 Teaching Center Spotlight ............10 electronic posters, technical exhibits, Workshop Series ..........................11 instructional course lectures and hands on workshops. Attendees from 70 different Current Concepts ........................12 countries are anticipated to attend the ISAKOS Meetings ......................17 ISAKOS Congress. In addition to the multi- ISAKOS Approved dimensional scientific program we hope Courses in Review........................18 you will attend the evening social events Maria Novella, is located near the Upcoming ISAKOS such as the Welcome Reception and Congress location, the Fortezza da Basso, Approved Courses ........................22 Farewell Banquet. and provides comfortable high-speed Florence is a city of sublime art trains with direct travel to Rome, Milan EDITOR and beauty, and casts a spell in a and Naples. Ronald M. Selby, MD, USA way few places can. Set in a valley on the The ISAKOS Congress will take place banks of the Arno, this captivating city is EDITORIAL BOARD within the Fortezza da Basso, a Medicean home to some of the most magnificent fortress built between 1533 and 1535 by Vladimir Bobic, MD FRCSEd, Renaissance masterpieces from United Kingdom Giuliano diSangallo. -
The Master of the Unruly Children and His Artistic and Creative Identities
The Master of the Unruly Children and his Artistic and Creative Identities Hannah R. Higham A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham May 2015 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis examines a group of terracotta sculptures attributed to an artist known as the Master of the Unruly Children. The name of this artist was coined by Wilhelm von Bode, on the occasion of his first grouping seven works featuring animated infants in Berlin and London in 1890. Due to the distinctive characteristics of his work, this personality has become a mainstay of scholarship in Renaissance sculpture which has focused on identifying the anonymous artist, despite the physical evidence which suggests the involvement of several hands. Chapter One will examine the historiography in connoisseurship from the late nineteenth century to the present and will explore the idea of the scholarly “construction” of artistic identity and issues of value and innovation that are bound up with the attribution of these works. -
The Medici Palace, Cosimo the Elder, and Michelozzo: a Historiographical Survey
chapter 11 The Medici Palace, Cosimo the Elder, and Michelozzo: A Historiographical Survey Emanuela Ferretti* The Medici Palace has long been recognized as an architectural icon of the Florentine Quattrocento. This imposing building, commissioned by Cosimo di Giovanni de’ Medici (1389–1464), is a palimpsest that reveals complex layers rooted in the city’s architectural, urban, economic, and social history. A symbol – just like its patron – of a formidable era of Italian art, the palace on the Via Larga represents a key moment in the development of the palace type and and influenced every other Italian centre. Indeed, it is this building that scholars have identified as the prototype for the urban residence of the nobility.1 The aim of this chapter, based on a great wealth of secondary literature, including articles, essays, and monographs, is to touch upon several themes and problems of relevance to the Medici Palace, some of which remain unresolved or are still debated in the current scholarship. After delineating the basic construction chronology, this chapter will turn to questions such as the patron’s role in the building of his family palace, the architecture itself with regards to its spatial, morphological, and linguistic characteristics, and finally the issue of author- ship. We can try to draw the state of the literature: this preliminary historio- graphical survey comes more than twenty years after the monograph edited by Cherubini and Fanelli (1990)2 and follows an extensive period of innovative study of the Florentine early Quattrocento,3 as well as the fundamental works * I would like to thank Nadja Naksamija who checked the English translation, showing many kindnesses. -
Renaissance Art Alpha-Numeric Class Code: ARTH-UA9005 Tuesdays and Thursdays, H 5:00–6:15 Pm, Daylight Savings Time Blended Villa Ulivi, “Arezzo” Room
Spring 2021 - Renaissance Art Alpha-Numeric Class Code: ARTH-UA9005 Tuesdays and Thursdays, h 5:00–6:15 pm, Daylight Savings Time Blended Villa Ulivi, “Arezzo” Room Spring 2021 We know that you may be taking courses at multiple locations this semester. If you are enrolled in this course 100% remotely and are not a Go Local/Study Away student for this course site, please make sure that you’ve completed the online academic orientation via NYU Classes so you are aware of site specific support, policies and procedures. Please contact [email protected] if you have trouble accessing the NYU Classes site. If you are attending in person, you will be instructed to choose your seat on the first day and are expected to use that seat for the entire semester due to NYU COVID-19 safety protocol. Class Description: NYU Students who have already taken ARTH-UA 2 will not receive major credit for ARTH-UA 5 [Renaissance Art survey] or ARTH-UA 6 [Modern Art survey]. This course is an introduction to Renaissance Art by exploring in-depth the historical, political, and cultural evolution of Italy and Europe between the 15th and early 16th centuries. The course analyzes the historical and social background of the beginning of the Renaissance during the early 15th century and the impact of Medici's patronage on Filippo Lippi, Verrocchio, Botticelli, Perugino, and Ghirlandaio. It then investigates the "Golden Age" of the High Renaissance, specifically focusing on Leonardo da Vinci, Raphael Sanzio, and Michelangelo Buonarroti. By the end of this course, students gain a thorough knowledge of the Italian and European Renaissance Age, developing practical perception and a confident grasp of the material, understanding the relationship betweenSample historical and artistic events, and valuingSyllabus the importance of patronage. -
Sustainable Fashion in Italy
SUSTAINABLE FASHION IN ITALY Commissioned by the Netherlands Enterprise Agency SUSTAINABLE FASHION IN ITALY A GUIDE FOR DUTCH FASHION ENTREPRENEURS CONTENTS: 1 UN sustainable development goals and two words about sustainability 3 2 To identify the most sustainable fibers we must know them 5 Environmental consequences caused by the use of yarns 6 Global fibers production 1900>2017 + 2017 7 Cotton 8 Other natural vegetable fibers 11 Silk 12 Wool 14 Artificial fibers Viscose 16 Tencel 16 Syntethic fibers 17 3 How to build a sustainable brand 18 4 Italian sustainable lists 20 Italian textile producers 21 Top Italian sustainable brands 26 New Italian sustainable fashion designers 28 5 Italian exhibitions 29 Exhibiting in the Italian fairs 32 Visiting the Italian fairs 32 How fairs have included sustainability 32 Italian special fashion events 33 6 Roads to access the Italian market 34 7 Most important buyers 35 8 Conclusions 36 Contacts 38 2 SUSTAINABLE DEVELOPMENT GOALS GOAL 1: End poverty in all its forms everywhere GOAL 2: End hunger, achieve food security and improved nutrition and promote sustainable agriculture 1GOAL 3: Ensure healthy lives and promote well-being for all at all ages GOAL 4: Ensure inclusive and equitable quality education and promote life- long learning opportunities for all GOAL 5: Achieve gender equality and empower all women and girls GOAL 6: Ensure availability and sustainable management of water and sanitation for all GOAL 7: Ensure access to affordable, reliable, sustainable and modern en- ergy for all GOAL 8: Promote -
PART 1 BDV25 TWO977-25 Task 2B Delive
EVALUATION OF SELF CONSOLIDATING CONCRETE AND CLASS IV CONCRETE FLOW IN DRILLED SHAFTS – PART 1 BDV25 TWO977-25 Task 2b Deliverable – Field Exploratory Evaluation of Existing Bridges with Drilled Shaft Foundations Submitted to The Florida Department of Transportation Research Center 605 Suwannee Street, MS30 Tallahassee, FL 32399 [email protected] Submitted by Sarah J. Mobley, P.E., Doctoral Student Kelly Costello, E.I., Doctoral Candidate and Principal Investigators Gray Mullins, Ph.D., P.E., Professor, PI Abla Zayed, Ph.D., Professor, Co-PI Department of Civil and Environmental Engineering University of South Florida 4202 E. Fowler Avenue, ENB 118 Tampa, FL 33620 (813) 974-5845 [email protected] January, 2017 to July, 2017 Preface This deliverable is submitted in partial fulfillment of the requirements set forth and agreed upon at the onset of the project and indicates a degree of completion. It also serves as an interim report of the research progress and findings as they pertain to the individual task-based goals that comprise the overall project scope. Herein, the FDOT project manager’s approval and guidance are sought regarding the applicability of the intermediate research findings and the subsequent research direction. The project tasks, as outlined in the scope of services, are presented below. The subject of the present report is highlighted in bold. Task 1. Literature Review (pages 3-90) Task 2a. Exploratory Evaluation of Previously Cast Lab Shaft Specimens (page 91-287) Task 2b. Field Exploratory Evaluation of Existing Bridges with Drilled Shaft Foundations Task 3. Corrosion Potential Evaluations Task 4. Porosity and Hydration Products Determinations Task 5. -
Donatello's Terracotta Louvre Madonna
Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it. -
Street Culture Italia
1 Students and Faculty in Pompeii inside cover 2 3 Rome PHOTO // Tanesha Hobson image image 4 5 Venice PHOTO // Marco Sarno CONTENTSPreface 8 Flight Map 12 Art 14 Architecture 32 Religion 50 Culture 68 Program Faculty 86 Tour Guides 88 Itinerary 92 Acknowledgements 94 6 The Fourm, Rome 7 PHOTO // Jessica Demaio The Arts of Italy’s greatest success was in introducing William PREFACE Paterson’s art students to not By Professor Claudia Goldstein only the art and culture of Italy, but to the possibility and joy of international travel. THE ARTS OF ITALY, A TWO WEEK WINTER SESSION COURSE encounters with the towering Palazzo Vecchio and the view — at the top of We then traveled to Rome, the Eternal City, where we immersed WHICH TOOK TWELVE STUDENTS TO SIX CITIES IN ITALY OVER many, many steps — from the medieval church of San Miniato al Monte. ourselves in more than two thousand years of history. We got a fascinating WINTER BREAK 2016-17, WAS CONCEIVED AS AN IDEA — AND TO After we caught our breath, we also caught a beautiful Florentine sunset tour of the Roman Forum from an American architectural historian and SOME EXTENT A PIPE DREAM — ALMOST A DECADE AGO. which illuminated the Cathedral complex, the Palazzo Vecchio, and the architect who has lived in Rome for 25 years, and an expert on Jesuit The dream was to take a group of students on a journey across Italy to show surrounding city and countryside. architecture led us through the Baroque churches of Sant’Ignazio and Il them some of that country’s vast amount of art and architectural history, We spent three beautiful days in Florence — arguably the students’ Gesu’. -
Lecture 20 Italian Renaissance WC 373-383 PP 405-9: Machiavelli, Prince Chronology 1434 1440 1498 1504 1511 1512 1513 Medici
Lecture 20 Italian Renaissance WC 373-383 PP 405-9: Machiavelli, Prince Chronology 1434 Medici Family runs Florence 1440 Lorenzo Medici debunks “Donation of Constantine” 1498 da Vinci, The Last Supper created 1504 Michelangelo completes statue of David 1511 Rafael, The School of Athens created 1512 Michelangelo completes Sistine Chapel 1513 Machiavelli writes The Prince Star Terms Geog. Terms Renaissance Republic of Florence Medici Republic of Siena florin Papal States perspective Bolonia realism Milan A. Botticelli, Birth of Venus (1486) currently in the Uffizi, Florence The Birth of Venus is probably Botticelli's most famous painting and was commissioned by the Medici family. Venus rises from the sea, looking like a classical statue and floating on a seashell. On Venus' right is Zephyrus, God of Winds, he carries with him the gentle breeze Aura and together they blow the Goddess of Love ashore. The Horae, Goddess of the Seasons, waits to receive Venus and spreads out a flower covered robe in readiness for the Love Goddess' arrival. In what is surely one of the most recognizable images in art history, this image is significant because it attests to the revival of Greco-Roman forms to European art and gives form to the idea behind the Renaissance: a rebirth by using Classical knowledge. Lecture 20 Italian Renaissance B. Florence Cathedral (the Duomo) Florence Italy (1436) The Duomo, the main church of Florence, Italy had begun in 1296 in the Gothic style to the design of Arnolfo di Cambio and completed structurally in 1436 with the dome engineered by Filippo Brunelleschi, who won the competition for its commission in 1418. -
The Italian Lakes, the Piedmont, Tuscany, Umbria & Rome
Gardens of Italy: The Italian Lakes, the Piedmont, Tuscany, Umbria & Rome 29 APR – 21 MAY 2019 Code: 21912 Tour Leaders Deryn Thorpe, David Henderson Physical Ratings Enjoy the famous gardens of northern and central Italy, including private masterpieces by Paolo Pejrone, Russell Page, Paolo Portoghesi and Pearson & Barfoot. Overview Tour Highlights Join Deryn Thorpe, award-winning print and radio garden journalist, to tour the gardens of five distinct regions of Italy. Deryn will be accompanied by award-winning artist David Henderson, who brings a profound knowledge of European art to ASA tours. Enjoy the magic of northern lakeside and island gardens including Villa Carlotta, Villa Balbianello, Isola Bella and Isola Madre. Meet Paolo Pejrone, student of Russell Page and currently Italy's leading garden designer. With him, view his own garden, 'Bramafam' and, by special appointment, the private Gardens of Casa Agnelli at Villar Perosa – one of Italy's most splendid examples of garden design. View Paolo Pejrone's work during private visits to the estate of the Peyrani family and the beautiful Tenuta Banna. See the work of Russell Page with an exclusive visit to the private gardens of Villa Silvio Pellico. Visit intimate urban gardens in Florence and Fiesole including Le Balze, designed by Cecil Pinsent; Villa di Maiano (featured in James Ivory's film A Room with a View); and the Giardini Corsini al Prato. Ramble through the historical centres of lovely old cities like Turin, Lucca, Siena, Florence and Perugia, and encounter masterpieces of Italian art in major churches and museums. Gaze out onto the Mediterranean from the spectacularly situated Abbey of La Cervara. -
Sponsor-A-Michelangelo Works Are Reserved in the Order That Gifts Are Received
Sponsor-A-Michelangelo Works are reserved in the order that gifts are received. Please call 615.744.3341 to make your selection. Michelangelo: Sacred and Profane, Masterpiece Drawings from the Casa Buonarroti October 30, 2015–January 6, 2016 Michelangelo Buonarroti. Man with Crested Helmet, ca. 1504. Pen and ink, 75 Michelangelo Buonarroti. Study for a x 56 mm. Casa Buonarroti, Florence, inv. Draped Figure, ca. 1506. Pen and ink over 59F black chalk, 297 x 197 mm. Casa Buonarroti, Florence, inv. 39F Sponsored by: Michelangelo Buonarroti. Study for the Leg of the Christ Child in the “Doni Sponsored by: Tondo,” ca. 1506. Pen and ink, 163 x 92 mm. Casa Buonarroti, Florence, inv. 23F Sponsored by: Michelangelo Buonarroti. Study for the Apostles in the Transfiguration (Three Nudes), ca. 1532. Black chalk, pen and Michelangelo Buonarroti. Study for the ink. 178 x 209 mm. Casa Buonarroti, Michelangelo Buonarroti. Study for Christ Head of the Madonna in the “Doni Florence, inv. 38F Tondo,” ca. 1506. Red chalk, 200 x 172 in Limbo, ca. 1532–33. Red chalk over black chalk. 163 x 149 mm. Casa mm. Casa Buonarroti, Florence, inv. 1F Sponsored by: Buonarroti, Florence, inv. 35F Reserved Sponsored by: Sponsored by: Patricia and Rodes Hart Michelangelo Buonarroti. The Sacrifice of Isaac, ca. 1535. Black chalk, red chalk, pen and ink. 482 x 298 mm. Casa Michelangelo Buonarroti. Studies of a Horse, ca. 1540. Black chalk, traces of red Michelangelo Buonarroti. Study for the Buonarroti, Florence, inv. 70F chalk. 403 x 257 mm. Casa Buonarroti, Risen Christ, ca. 1532. Black chalk. 331 x 198 mm. -
Gender Dynamics in Renaissance Florence Mary D
Early Modern Women: An Interdisciplinary Journal Vol. 11, No. 1 • Fall 2016 The Cloister and the Square: Gender Dynamics in Renaissance Florence Mary D. Garrard eminist scholars have effectively unmasked the misogynist messages of the Fstatues that occupy and patrol the main public square of Florence — most conspicuously, Benvenuto Cellini’s Perseus Slaying Medusa and Giovanni da Bologna’s Rape of a Sabine Woman (Figs. 1, 20). In groundbreaking essays on those statues, Yael Even and Margaret Carroll brought to light the absolutist patriarchal control that was expressed through images of sexual violence.1 The purpose of art, in this way of thinking, was to bolster power by demonstrating its effect. Discussing Cellini’s brutal representation of the decapitated Medusa, Even connected the artist’s gratuitous inclusion of the dismembered body with his psychosexual concerns, and the display of Medusa’s gory head with a terrifying female archetype that is now seen to be under masculine control. Indeed, Cellini’s need to restage the patriarchal execution might be said to express a subconscious response to threat from the female, which he met through psychological reversal, by converting the dangerous female chimera into a feminine victim.2 1 Yael Even, “The Loggia dei Lanzi: A Showcase of Female Subjugation,” and Margaret D. Carroll, “The Erotics of Absolutism: Rubens and the Mystification of Sexual Violence,” The Expanding Discourse: Feminism and Art History, ed. Norma Broude and Mary D. Garrard (New York: HarperCollins, 1992), 127–37, 139–59; and Geraldine A. Johnson, “Idol or Ideal? The Power and Potency of Female Public Sculpture,” Picturing Women in Renaissance and Baroque Italy, ed.